Thesis (M.Arch.)--University of Hong Kong, 2000. / Includes special report study entitled : Rapid assembly modulus lightweight structure. Includes bibliographical references. Also available in print.

Thesis (M.Arch.)--University of Hong Kong, 2001. / Includes special report study entitled : Sense of neighborliness in urban reformulation. Includes bibliographical references. Also available in print.

Thesis (M.Arch.)--University of Hong Kong, 2001. / Includes bibliographical references. Also available in print.

Thesis (M. A.)--University of Hong Kong, 2005. / Title proper from title frame. Also available in printed format.

Thesis (D. Min.)--Trinity Lutheran Seminary, 1986. / Includes bibliographical references (leaves 86-92).

No description available.

No description available.

This project investigates the progress of Spanish women filmmakers and their films that have served as critical discourse in the social construction of women's identities and rights within the historical context of the post-Franco era in Spain. These filmmakers use the institution of the cinema as a medium of critical discourse on the changes in Spanish society. The films of Josefina Molina (Función de noche [1981], Lo más natural [1990], Santa Teresa de Jesús [1984]), Cecilia Bartolomé (Vámonos Bárbara [1977] y Después de…, [1979]), Pilar Miró (Tu nombre envenena mis sueños [1996] y Beltenebros [1991]), Iciar Bollain (Te doy mis ojos [2003] y Mataharis [2007]) y Pilar Távora (Yerma [1998]) are analyzed as feminist critical discourse that aims to criticize the patriarchal hegemony. This research provides insight into the historical evolution of women through the protagonists in their films, social change, and the transformative representation of contemporary post-Franco women in Spain. / A Dissertation submitted to the Department of Interdisciplinary Humanities in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester, 2010. / March 29, 2010. / Includes bibliographical references. / Brenda Cappuccio, Professor Directing Dissertation; Delia Poey, University Representative; Reinier Leushuis, Committee Member; David Johnson, Committee Member.

To declaim publicly is an old dramatic practice that requires of its performer a mastery of communicative clarity and confidence, or at least the appearance of it. The orchestral performance tradition is in many ways analogous to this practice: it is long-standing and inseparably public, and it demands both emotive and technical mastery of its performers to effectively convey the sentiment of the works played. Likewise, the impression of confidence is imperative—there is little room for the timid performer on the orchestral stage. Nor is there forgiveness for the timid composer or for the composer who communicates ineffectively. In this respect, a composition whose musical ideas form a coherent, logical flow is valuable. Declamation's composition is thus in no small part concerned with the logical flow of ideas from one passage to the next—the carefully crafted organization of contrast and similarity that is at the heart of countless symphonic masterworks. To fill the void left by the preclusion of contrasting key areas fundamental to the opening movements of so many staples of tonal symphonic literature, Declamation comprises a fundamental conflict between other dramatically effective parameters: it presents a struggle between the chromatic and the quasi-diatonic, between the densely contrapuntal and the uniquely melodic, between the aggressive and the subdued. As in first movements of tonal symphonies, the narrative shape of Declamation is concerned with the mediation of these fundamental dichotomies. The formal shape that results from these dichotomies and their mediation is not a "sonata form," and to claim it as such would lessen the value of the term. However, the narrative shape of Declamation is one that attempts to recreate the dramatic allure, the inevitable yet captivating resolution of conflict that is the charm of the sonata-form movement, as evidenced by so many magnificent works of the symphonic genre. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Summer Semester 2015. / June 16, 2015. / orchestra, symphonic / Includes bibliographical references. / Ladislav Kubík, Professor Directing Dissertation; Evan Allan Jones, University Representative; Clifton Callender, Committee Member; Mark Wingate, Committee Member.

In this treatise, I have transcribed into musical notation seven poems and their accompaniments on flute (collectively referred to as the Jane Poems) written by poet Jessica Hand and flutist/composer Jeana Melilli. Poetry is often set to music, but it is unusual for music to be written as accompaniment to spoken poetry without altering the recitation of the poem itself, so these pieces do not fit easily into any existing genre and are therefore well positioned to begin defining a new genre. As the poet and composer are currently the primary performers of these works, the flute parts have heretofore been written only as annotations in the traditionally-written poetry (see the facsimiles included in section two of this document), and neither part has ever been written in musical and/or rhythmic notation. The transcriptions, which comprise the second section of this treatise, will provide a format in which the text and music can appear together in print publications, and will allow other performers to learn these works without ever having heard them. Each chapter of section two contains an original transcription, preceded by a performance guide, the poem as originally written by Jessica Hand, and a facsimile of Jeana Melilli's original manuscript with her own annotations indicating her accompaniments. The performance guide includes background information on the corresponding poem and flute part, and other relevant details to ensure that performers have a sufficient understanding of the work. The first section of this treatise provides the background and analysis necessary to understand the transcriptions that follow. It begins with a history of the relationship between poetry and music, from Greek lyric poetry through Sprechstimme to rap. Biographical information gives the reader a contextual framework in which to place these pieces. The analysis section examines Hand's semi-autobiographical poems, which are written in free verse, but are not ametrical, from a musical perspective. She uses poetic feet in various combinations to create rhythmic patterns, and her rhythmically-consistent delivery of these patterns creates mixed meters which can be transcribed in musical notation and further analyzed to determine how the uses of mixed meters evoke different emotional responses in the listener. It also examines Melilli's accompaniments, which are written in three primary styles, and the ways in which they impact, highlight, or alter the meaning of the text. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester, 2015. / February 18, 2015. / Flute, New Music, Poetry, Transcriptions / Includes bibliographical references. / Eva Amsler, Professor Co-Directing Treatise; Jeffrey Keesecker, Professor Co-Directing Treatise; Jane Piper Clendinning, University Representative; Deborah Bish, Committee Member.